The silhouette/guillotine scene sets up Porky’s horror beautifully.
Davis’ layout artist was Don Smith, who disappeared after the unit folded. He may be the William D. Smith who worked for Harman-Ising in the ‘30s.
Friday 31 January 2014
Pork Chops
The Art Davis unit went out on top with what was arguably its best cartoon, “Bye Bye Bluebeard” (released 1948). The story and gags are solid, the timing is tops and there are some neat layouts.
The silhouette/guillotine scene sets up Porky’s horror beautifully.
Davis’ layout artist was Don Smith, who disappeared after the unit folded. He may be the William D. Smith who worked for Harman-Ising in the ‘30s.
The silhouette/guillotine scene sets up Porky’s horror beautifully.
Davis’ layout artist was Don Smith, who disappeared after the unit folded. He may be the William D. Smith who worked for Harman-Ising in the ‘30s.
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Artie's efforts with Bill Scott and Lloyd Turner are for the most part pretty funny. But some of them are very dialogue-heavy (which you'd expect from a future sitcom writer and the future producer of Rocky & His Friends), that takes away a bit from the expressive poses or layouts. This one with Sid Marcus as writer is not, once the situation's set up, and it still has the energy the Davis unit put into its shorts (and it would have been interesting to see how Artie's staff would have handled Sid's next cartoon, "A Ham in a Role" that Bob McKimson took over. The opening minute is some of Bob's funniest direction ever, but the body of the story has a bit of that McKimson-y grounded-to-earth feeling that the first two Goofy Gopher cartoons by Davis did not).
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